UE Newsletter Spring 2005 English by Universal Edition

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Contents

NEWS Website re-launch — 4 UE search functions, B2B — 4 COMPOSERS Boulez — 5 Halffter — 8 Rihm — 9 Pärt — 12 Haas — 13 Baltakas — 15 Panufnik — 15 Berio — 16 Stockhausen — 17 Kurtág — 19 Kagel — 19 Sotelo / Furrer — 20 Finnissy — 20 Bennett — 21 Sawer — 22 Wilson — 22 Schnyder — 23 Lentz — 23 Ruzicka — 24 Pousseur — 24 Feldman — 25 Brown — 25 Schönberg — 26 Weill — 28 Brand — 28 Szymanowski — 29 Braunfels — 29 Martin — 30 Schmidt — 30

Milhaud — 31 Schreker — 31 Rathaus — 32 Grosz — 32 Mahler / Barshai — 33 Krenek — 34 Bartók — 34 REDISCOVERIES Casella — 35 Reznicek — 35 Paul von Klenau — 36 Tansman — 37 Martinu — 37 ANNIVERSARIES — 38 - 39 WORLD PREMIÈRES — 40 NEW RELEASES — 41 -42

Dear reader, To celebrate is to discover! Despite all the usual criticism, special birthdays and celebrations of composers are a proven source of creative programming ideas. Is it not artistically daring to place the music of a single composer, of whose qualities one is confident, at the centre of a season, a series or a festival? It’s a gamble that can pay off: composers long identified as giants often surprise listeners with previously unknown gems, imbuing an event with a perceptible identity. And the jubilee of an unsung giant can provide the exciting chance to present an exclusive revelation.

NEW ON CD — 43 - 44 The editors WORKLIST Boulez — 45 - 46 CREDITS — 48

contents 02/2005

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WWW.UNIVERSALEDITION.COM

Search function Over the last few weeks, our website www.universaledition.com has been expanded and enriched by the addition of two very important new tools: first of all, clicking on the search button in the upper right-hand corner of the home page avails you of our entire database, making a comprehensive search of the website now possible. And with the new search navigation bar, you can find not only sheet music, materials for purchase and hire, and new releases, but also downloads, sound clips, biographies, photos and performance dates!

B2B - Business to Business In announcing our second new tool, we are pleased to be the first publisher to offer concert organisers, stage directors, artistic directors and others information specially compiled for those in the

news

music management field. More and more, our B2B area will make it possible for you to access UE works grouped according to specific themes and genres, such as: the visual arts, pieces for cello ensemble, Faust, Japan, children, Mozart, contemporary composers, music in space, night and death - to name just a few. Generous attention is also paid to settings of literary works: pieces based on the writings of Antonin Artaud, Bertolt Brecht, Heinrich Heine and Rainer Maria Rilke can be found via their own individual search buttons. We are constantly working on the expansion of these thematic areas. Furthermore, the B2B PremiĂ¨re Check can tell you right away whether a given work has already been premiĂ¨red in your country, and the Anniversaries area offers a listing of all the important birthdays and death-dates of our composers and related literary figures. A further click on the UE Music for Film button shows you which wellknown films include music by UE composers.

BOULEZ

Worldwide... All over the world, concert organisers, orchestras, ensembles, soloists and conductors are giving performances to celebrate the 80th birthday of Pierre Boulez. In 2005, works from his entire oeuvre will be presented over 130 times in around 80 concerts (as of February 2005). Exact dates and details can be found on our website, at www.universaledition.com / Composers / Performance Database (information subject to change). As usual, Boulez and his Ensemble Intercontemporain are at the centre of the action! Boulez himself mounts the rostrum 60 times, performing with EIC in Paris, Munich, Cologne, Orléans, Amsterdam and Berlin. Conductors and soloists of Boulez in 2005 include: Daniel Barenboim, George Benjamin, Reinbert de Leeuw, Zsolt Nagy, Sir Simon Rattle, David Robertson, Hugh Wolff; Pierre-Laurent Aimard, Hae-Sun Kang, Hidéki Nagano, Tamara Stefanovich Orchestras and ensembles of Boulez in 2005 include: Berliner Philharmoniker, Chicago Symphony Orchestra, Cleveland Orchestra, London Symphony Orchestra, Orchestra Sinfonica

Nazionale della RAI Torino, Orchestre National de Lille, RSO Finnland, Staatskapelle Berlin, Wiener Philharmoniker; Accentus, Ensemble Intercontemporain, Ensemble Linea, Ensemble Sospeso, London Sinfonietta, Schönberg Ensemble. Bon Anniversaire!

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BOULEZ

On his 80th birthday I think back to when I assumed responsibility for new music at the SĂźddeutsche Rundfunk: one of my first official acts was to invite Boulez to Stuttgart. Almost before the invitation had been made public, the first nasty reactions came back from the orchestra, and when these had no effect, from Mr. Celibidache himself, who was First Guest Conductor at the time. The essence of Celibidacheâ&#x20AC;&#x2122;s objection was that he would never be able to make lasting improvements to the orchestra if one brought in people like Boulez, who would simply tear down everything that had been so painstakingly built up. Celibidache possessed enough foresight to be acutely aware of the danger emanating from the alternative perspective represented by Boulez. After all, Boulez meant nothing less than the end of the podium divas â&#x20AC;&#x201C; conductors who, as Adorno put it, played up their own role at the expense of those who were actually playing. Of course, Boulez was somewhat ahead of the game compared to the average conductor: the fact that he had perfect pitch meant that it was perhaps pre-destined that he would perform contemporary

boulez

music. But that alone would not have made him fundamentally different from the old-style prima donnas. Rather, it was his conducting technique and his musical intelligence that set him apart so definitively as a musician. This incomparable musical profile was the manifestation of a certain fundamental attitude: that interpretation should be cleansed of subjective views, in order that the music might speak for itself. This also describes the motivation behind his work as a composer. Boulez intended to cleanse composition of the haphazard nature of a subjectivity grown frail, to allow music to articulate more than just the private preferences and dislikes of the composer. Other composers besides Boulez also took part in such objectification, although most eventually abandoned the concept. By way of improvisation and open forms, via quotations and paraphrasing, the old subjective practices were soon reinstated. Boulez kept to his process, even at the cost of becoming a somewhat isolated figure. When he began his great conducting career with the BBC Symphony Orchestra and the New York Philharmonic, he was accused merely of trying to compensate for his reduced productivity.

But time was on his side. Not long after the declaration of the postmodern era, the era of “anything goes”, it was realised that in doing so, art had robbed itself of a productive form of resistance, which explains the weaknesses exhibited by so many works from this period. All at once, following the composition of the grandiose Notations, Boulez’s music had regained its currency. After all, Boulez preserved something that had been lost in the post-modern masquerade: the productive conflict between freedom and that which limits freedom. Today, as Boulez completes his eighth decade, he can look back on an oeuvre in which one finds progress and tradition, freedom and restriction communicated in an incomparable manner. It cannot be copied, but composers will be guided by his work as long as all that which can be called music worthy of mankind continues to resist today’s insidious musical illiteracy. Clytus Gottwald

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HALFFTER

‘Sometimes that’s how Mother Nature works!’ Cristóbal Halffter – Spaniard, aesthete, ethicist, “player”. Four characters combine in a single music that, above all else, mediates between composer, musician and listener. I seek the highest form of communication that the brain is capable of perceiving! Halffter’s proclamation might seem arrogant in the light of new music’s reputed inaccessibility, but it is precisely

halffter

this highest form of communication that reaches our deepest awareness. How else can one explain the silence lasting several minutes of a ‘traditional’ audience after the première of Don Quijote, or the 40 enraptured violinists of the German Youth Orchestra during the first movement of Elegías? Halffter touches us, fascinates us! The fascination comes from “playing” in both senses of the word. In playing, one alters reality. A violin is just wood and metal, but suddenly it becomes art, culture, beauty. The catalyst is an idea, a sound. I create a living cell and try to let it develop in whatever direction it wants to. The ‘why’ is difficult to explain. When, in Wozzeck, it is said: ‘You have a child without the blessing of the church,’ Wozzeck replies: ‘Sometimes that’s how Mother Nature works!’, and sometimes it’s that way with me. Nature comes along with a fortissimo … it’s wholly intuitive. But a composer must also work consciously with his intuition. It is a good thing that, at 75, this composer’s work is in full swing. Cristóbal Halffter celebrates his 75th birthday on 24 March 2005. Many happy returns!

RIHM

... in the US and in Europe Springtime heralds a number of notable events for Wolfgang Rihm. First and foremost is the première of a work written for Lorin Maazel and the New York Philharmonic Orchestra: Two Other Movements – a provocative title that arouses curiosity. The “answer” can be heard at the open rehearsal on 8 March or at one of four performances (10, 11, 13 and 15 March). Dritter Doppelgesang for clarinet, viola and orchestra was created for the Minnesota Orchestra and the Orchestre National de France. Osmo Vänskä premières this piece on 14 April in Minneapolis with clarinettist Burt Hara and violist Tom Turner. The French première takes place in Paris on 16 Feb 2006, Kurt Masur conducting the Orchestra National de France. On 18 April, George Benjamin conducts the US première of Gedrängte Form as part of the MusicNow series of the Chicago SO. This short ensemble piece was later sub-

sumed into the ‘melting pot’ of Jagden und Formen, an outstanding, 50-minute work for large ensemble that will see its US première on 25 May at Lincoln Center (EIC/Jonathan Nott). Hotel Römerbad in Badenweiler is once again patron and location of a world première: Rihm’s En plein air for harp, flute, clarinet and string quartet (13 March). Finally, the Holocaust Memorial in Berlin will be dedicated on 9 May with Memoria. Drei RequiemBruchstücke for alto solo (Cornelia Kallisch), boy soprano, choir and orchestra. Lothar Zagrosek conducts the Young German Philharmonic and the Berlin Radio Choir.

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PÄRT

Composer of the Year 2005 In a formal ceremony at New York’s Carnegie Hall on 6 December, Musical America conferred its awards upon the year’s most outstanding musicians. Musical America’s Composer of the Year was Arvo Pärt. This award is one of the most important honours that a composer can receive. This year Arvo Pärt celebrates an important birthday (his 70th), and numerous concerts are planned to mark the occasion: Munich: Pinakothek der Moderne – portrait concert by the Munich CO under Christoph Poppen on 5 March. Berlin: Passio with the ensemble UnitedBerlin under Stefan Schuck in the chamber music hall of the

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Philharmonie on 23 March. Tallinn: On 8 April, with the composer present, Eri Klas conducts the Estonian National Symphony Orchestra in works from several creative periods: Pro et contra (1966), Credo (1968), Lamentate (2003) and – an Estonian première – Da Pacem Domine for choir and orchestra (2004). This concert will be broadcast by Eesti TV. Te Deum on tour: Paavo Järvi and the Deutsche Kammerphilharmonie, together with the Estonian Philharmonic Chamber Choir, will mount four performances of the Te Deum (29/30 March in Bremen, 1 April in Innsbruck, and 2 April at the Heidelberg Spring Festival). Winnipeg: Winnipeg SO head conductor Andrey Boreyko, a passionate and successful promoter of Pärt’s music for several years now, will give the Canadian première of Pärt’s Cecilian cantata Cecilia, vergine romana during a series of concerts running from 28 to 30 May.

HAAS

An eventful springtime Klangforum Wien will be performing Georg Friedrich Haas’s new work Haiku (for baritone and 10 instruments) on 24 April at the Witten Festival of New Chamber Music. Two days later, the work’s Austrian première will take place in Vienna. The soloist will be Georg Nigl. The night so short – oh! And in caterpillars’ hairs Pearls of dew. (Buson Yosa, 1716 – 1784) ‘Haiku’ is a traditional form of Japanese poetry, defined by the number of syllables per line (5/7/5) and by the requirement that the season of the year be defined by one – and only one – statement (“the short night” = summer). Emotions are omitted, but nonethe-

less the poem offers a framework in which space for various (even contradictory) feelings is provided. In my setting, Buson’s text [in the German translation] is repeated several times, varying musical means lending shades of colours to the same words, whereby the underlying meaning and the feelings expressed by the text change accordingly. (G.F. Haas) The Violin Concerto, premièred in 1998 at the Vienna Musikverein, will receive its Japanese première on 6 April in a performance given by the New Japan Philharmonic Orchestra and Ernst Kovacic, conducted by Christian Arming at Suntory Hall in Tokyo. The 2004 Andrzej Dobrowolski Composition Award, presented by the Province of Styria, will be awarded on 25 April 2005 to Haas, a composer who is forging a way into new musical territory.

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PANUFNIK

Abraham BALTAKAS

A new song The song cycle – sometimes with voice, sometimes without voice – begun by Vykintas Baltakas in 2000 with Song (Das Lied) for piano and tape has recently expanded by three further works: we reported on Ouroboros for chamber ensemble at the Klangspuren festival in Schwaz, and on (co)ro(na), a further ensemble piece performed at Hamburg’s das neue werk. Thanks to a commission from Harry Vogt for the Witten Festival of New Chamber Music, these are now joined by a new song for soprano (Rita Balta, S) and instruments, which will be premièred by Klangforum Wien under Johannes Kalitzke on 24 April 2005.

Abraham is the title of Roxanna Panufnik’s new violin concerto, which will first be heard on 25 March at the Savannah Festival, US. Panufnik has long held a fascination for the musics central to Islam, Judaism and Christianity, and this virtuosic new work intertwines them in a most striking manner. The dramatic story of Abraham being asked by God to sacrifice his only son and being reprieved at the last moment seemed entirely appropriate to Panufnik, since Abraham is considered the father of these three faiths. Daniel Hope, the prize-winning young violinist and associate artistic director of the 2005 festival, will perform the work with conductor John Axelrod and the festival orchestra. Soon to receive its European première in Lucerne, it is expected that this ravishing and most original work will quickly become part of the repertoire.

baltakas / panufnik

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BERIO

Ensembles honour their master The Neue Vocalsolisten Stuttgart were lucky enough to work with the composer on the version of A-Ronne for 5 actors. Since then, it has become a staple part of their repertoire. Four performances are planned between March and May 2005: on 7 April (Donaueschingen), 8 April (Ravensburg), 3 May (Geneva) and 7 May (Saarbrücken). Geneva: Ensemble Contrechamps, led by Pascal Rophé, has scheduled an ‘Hommage à Luciano Berio’ on 3 May. The programme will present an impressive survey of Luciano Berio’s multi-faceted oeuvre: A-Ronne (1974), Circles (1960), Chemins II (1967), and Canticum Novissimi Testamenti (1989). The evening’s soloists are all veteran

Berio performers: Luisa Castellani, one of Berio’s preferred voices, Geneviève Strosser, viola, Sébastien Cordier and François Volpé, percussion, Quatour Xasax and the Neue Vocalsolisten Stuttgart. The Nieuw Ensemble Amsterdam, led by composer and conductor Fabio Nieder, is planning two performances of their ‘Hommage à Luciano Berio’ concert: on 14 April in Utrecht and 19 April in Maastricht. The programme is to include Folk Songs (with soloist Alda Caiello), O King and Glosse, as well as Fabio Nieder’s own Omaggio in memoriam Luciano Berio. Tallinn: Coro, for 40 voices and instruments, in which Berio applied a multitude of musical techniques from various cultures, numbers among his most important works. Tõnu Kaljuste will conduct Coro in Tallinn on 23 April, with the RATS-koor and the Estonian National Symphony Orchestra.

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STOCKHAUSEN

Retrospective in Brussels The Ars Musica Festival (artistic director, Tino Haenen) will be presenting several of Karlheinz Stockhausen’s major works from the ‘50s and ‘60s – compositions which paved the way for post-war musical developments and served as reference points for younger generations of composers. On 4 March 2005, the ASKO Ensemble (c. Etienne Siebens) will perform Kreuzspiel (1951) and KontraPunkte (1952/1953). According to the composer, the first work represents the idea of the intersection between chronological and spatial processes, portrayed in three stages. Of the latter work, he wrote that it was created based on the idea that, in a diverse sound world filled with individual tones and time-ratios, contradictions should be resolved until such a state is achieved in which all that is audible is uniform and unchanging.

MusikFabrik NRW and the Choeur de Chambre de Namur under James Wood will interpret Mikrophonie II (1965), which – according to Stockhausen – is an attempt at a synthesis between singing and electronic music. The Dunedin Consort will sing Stimmung (1968) and in doing so will go into the very centre of sound, the centre of the harmonic spectrum, the centre of a vowel, the centre itself (3 March). Benjamin Kobler plays Klavierstücke VI-IX and XI on 5 March; on the same day, Refrain (1959) will be performed by Ensemble Recherche. Members of the EIC play Zeitmaße (1955/1956) on 20 March, and Wim Konink performs Zyklus (1959) on 18 March.

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KURTÁG

and Hungarian poetry The Dresden Music Festival is awaiting a rarity by György Kurtág: Erinnerung an einen Winterabend, op. 8, four fragments after poems by Pál Gulyás for soprano, violin and cimbalom (22 May). The 1969 trio displays elements typical of Kurtág’s later works from the '80s – such as in the fourth fragment, whose beginning anticipates that of the Trussova Songs. Baritone Georg Nigl will sing the Austrian première of Drei Lieder, op. 11a (1986, after poems by János Pilinszky), with pianist Ueli Wiget (Vienna, 17 May). Kurtág’s first ensemble work, Vier Capriccios, op. 9 (1970/71, rev. 1997), for soprano and ensemble after poems by István Bálint (miniature opera soliloquies, writes Paul Griffiths), will be performed twice: on 2 March in Vienna (Donna Ellen / Vienna Chamber Philharmonic / Traunfellner) and two days later in Birmingham (Lixenberg / BCMG / Mälkki).

Mauricio Kagel

KAGEL

Early chamber music Mauricio Kagel’s earliest UE work, String Sextet (1953/57), will be heard on 18 May in Saarbrücken (Veridian Ensemble). His homage to Beethoven, Ludwig van (1969) for pno, cb and tape, as well as Unguis incarnates est (1972) for pno and cb take the stage on 2 April in Paris. Two percussionists from the Schönberg Ensemble will perform Zwei-Mann-Orchester (1971/73) in Monte Carlo on 5 April, and Match (1964) for 2 cellos and percussion will be heard on 14 May in Munich.

kurtág / kagel

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SOTELO / FURRER

Ohren auf Europa 2006 Beat Furrer decided the concept of this year’s Ohren auf Europa Festival (Open your ears to Europe) at the Tonhalle in Düsseldorf, where the notabu ensemble will perform his nuun, and where Mauricio Sotelo’s Appassionato for flute and ensemble will have its German première on 2 May 2005. That evening will also feature: Morton Feldman’s For Frank O’Hara, Georg Friedrich Haas’s Nach-Ruf … ent-gleitend and Haubenstock-Ramati’s Credentials. Sotelo’s Wall of light red, inspired by Irish painter Sean Scully and dedicated to Furrer, will be heard again in Spain: Furrer will conduct Klangforum Wien in Seville (3 May), Granada (4 May) and Valencia (8 May). The work was premièred in Graz on 6 December, Furrer’s 50th birthday. Lastly, Sotelo’s Artemis will be performed by the Artemis Quartet on 11 May in Burghausen and on 30 May in Berlin.

Beat Furrer

FINNISSY

Turner and Constable... As part of the Royal Philharmonic Society / BBC Radio 3 “Encore” project, Sea and Sky will be performed on 1 April at a BBC SO invitation concert (Maida Vale). This work of Michael Finnissy’s was last performed in the UK almost 20 years ago (BBC SO, 1986), and was commissioned and first performed by the LPO in 1980 (c. Elgar Howarth). It is a grandly conceived work of great impact inspired by the English countryside and the painting of Turner and Constable.

sotelo/furrer finnissy

BENNETT

The Mines of Sulphur Part eerie ghost story, part murder mystery, Sir Richard Rodney Bennett’s opera The Mines of Sulphur made a triumphant eleventh hour addition to Glimmerglass Opera’s 2004 festival season in Cooperstown, New York. Now the rarely heard gem is heading to New York City for performances at the New York City Opera on 23, 25, 27 October and 2, 5 November 2005. George Manahan will conduct the production which is directed by David Schweizer. Commissioned by Sadler’s Wells in 1965, Bennett’s opera with its richly coloured score was widely acclaimed at the time of its première but fell into eclipse shortly after.

where the wealthy landowner, Braxton, has been murdered by a vagabond trio of outcasts. A travelling band of actors arrives unexpectedly seeking shelter and enacts a play that reveals the treachery. But who are these actors really and what else have they wrought upon the household? As Shakespeare wrote in Othello, Dangerous conceits are, in their natures, poisons…[and] burn like the mines of sulphur. A riveting climax ensues.

It was such a wonderful surprise to witness a new life for this work, says the composer, and in such a marvellous new production. I couldn’t be happier with the results. Glimmerglass music director Stewart Robertson remembered the opera from his student days in Glasgow and suggested it when the scheduled première at the festival of a commissioned work was postponed. The gothic tale takes place in an 18th-century English country house

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SAWER

Tiroirs in Birmingham WILSON On 4 March Susanna Mälkki will conduct Birmingham Contemporary Music Group in a performance of David Sawer’s Tiroirs at the CBSO Centre. Written nine years ago in 1996, this ensemble piece reworks its magic at every hearing: every texture has buoyancy, every detail wit and originality, and there is not a note wasted. (The Guardian) Prompted by the work of surrealist Roussel, it is a ...marvellously adroit exercise in hinting without saying...done in bewitchingly iridescent colours. (Daily Telegraph)

Ian Wilson

Spanish première The Amstel Saxophone Quartet will give their fourth performance – the Irish première in fact – of Ian Wilson’s Atlantica at Aula Maxima (University of Galway, Ireland) on 2 March 2005. Then, on 5 April, Trio Arbos will present the Spanish première of Negro negro elegía at the Teatro Alhambra in Granada. Composed in 2004, this work is Wilson’s fourth piano trio and forms part of his Orphean Unterwelt series. It has already been performed in Vienna and Dublin. Directly inspired by Robert Motherwell's iconic series of paintings called Elegies to the Spanish Republic, Wilson’s aim was to seek a musical drama that would, like some small echo of Motherwell's series, express some of the horror and frustration I have felt at many world events over the past few years. In doing this, the composer has created an energetic and dark musical vocabulary.

sawer / wilson

SCHNYDER

Violin Concerto in Sweden Daniel Schnyder composed his Concerto for Violin for Nora Chastain, who wanted a piece rooted in the classical tradition whilst also reflecting contemporary rhythms and sounds. It will be performed on 3 March by the Helsingborgs Symfoniorkester, with Nora Chastain as soloist and Sebastian Weigle conducting. It has been programmed frequently since 1997, a testament to Schnyder’s enduring style which draws on jazz and avant garde idioms in practically equal measure, producing a heady brew, tuneful, rhythmic, appealing.

LENTZ

in Australia Composer and Luxembourg native Georges Lentz has almost completed his viola concerto Monh (première to take place in July 2005). Lentz’s works are performed regularly in his adopted home of Australia: the orchestral piece Ngangkar will soon be heard in Perth with the West Australian SO under Christopher Franklin, whilst the Australian String Quartet will

Daniel Schnyder

tour with Caeli enarrant 4 for string quartet and two cymbals in May. Naxos has recorded this piece along with other chamber works (8.557019 CD).

schnyder / lentz

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RUZICKA

Homage to Mahler UE has a single orchestral work by German composer Peter Ruzicka: the 1981 viola concerto entitled …den Impuls zum Weitersprechen erst empfinge. According to Ruzicka, it revolves around the music of Gustav Mahler. “Parts of the composition refer to a moment in the first movement of the 9th Symphony ... There, Mahler dared to include some very forward-looking formulations, staggeringly modern: strong musical impulses that look towards the future. Repeatedly, the music takes form as though it were ‘receiving the impulse to speak more only once it is already speaking’ (Adorno). Ruzicka will conduct the piece together with Gustav Mahler’s Symphony No. 9 on 29 May 2005 in Kassel to open a Mahler festival staged by the Staatstheater and GMD Roberto Paternostro. The Orchestra of the Staatstheater will perform, with soloist Paul Wiederin.

Peter Ruzicka

POUSSEUR

in Leipzig Towards the end of the ‘50s and at the beginning of the ‘60s, Henri Pousseur composed three works entitled Madrigal: Madrigal I (1958) was for solo clarinet (4’); in 1961 came Madrigal II for 4 period instruments – flute, violin, viola da gamba and harpsichord (3’); and Madrigal III (1962, 12’) is for solo clarinet, violin, two percussionists and piano, and will be heard in Leipzig performed by ensemble Avantgarde on 4 May 2005. The piece was dedicated to the memory of Wolfgang Steineckes.

ruzicka / pousseur

FELDMAN

on two continents Martyn Brabbins will conduct Morton Feldman’s Coptic Light on 23 May at the CUB Malthouse in Melbourne. In Paris, Rothko Chapel will feature on 9 March with Les Jeunes Solistes and in Switzerland, Voices and Instruments I will be performed by Ensemble Phoenix Basel on 15 April (Zürich) and 16 April (Basel). Then, in Germany, Feldman’s String Quartet No. 1 will be performed by the Pellegrini Quartet (Konzerthaus, Berlin) on 7

May, whilst Three Clarinets, Cello and Piano will be heard on 28 May in a performance by Ensemble Modern (Akademie der Künste, Berlin). That same day, this time in Prague (Smetana Hall), Violin and Orchestra will feature in the Prague Festival. Finally, admirers of Feldman will be delighted to learn that a newly discovered arrangement of Kurt Weill’s Alabama Song is now available.

Brown

in Germany Event: Synergy II, the vibrant ensemble work by Earle Brown which has two conductors reacting spontaneously to each other’s musical decisions, will be performed by the Bochumer Symphoniker on 19 and 20 May 2005 (Bochum, Germany), and then again on 22 May (Dortmund, Germany).

Morton Feldman

Brown said that all his work from 1950 onwards was in the two areas of performance-mobility...and the spontaneous generation of this mobility through the activation of the performance process itself in terms of a score-performer-conductor-result process...

feldman / brown

SCHÖNBERG

Schönberg Festival Ruhr The Schönberg Festival Ruhr has been in progress at the Neue Philharmonie in Essen since 21 November. Initiator and festival director Michael Kaufmann aims to do justice to the fascination surrounding the historical witness, person and composer that is Arnold Schönberg whilst also presenting the Ruhr area as an outstanding cultural region. The programmes include music by all those composers whom Arnold Schönberg valued and considered important to his own work. March begins with a piano night in four parts, embedding the music of Schönberg amongst works by composers ranging from Bach, Haydn

and Beethoven to Liszt, Busoni and Ravel. On 14 April, Michael Gielen conducts the SWR SO of BadenBaden/Freiburg in Erwartung (Inga Nielsen), the Five Orchestral Pieces, op. 16 (Peters) and the Variations for Orchestra, op. 31. The final concert on 24 April will juxtapose the string orchestra version of the String Quartet No. 2 (Juliana Banse) with the Lyric Symphony by Schönberg’s mentor and brother-in-law, Alexander Zemlinsky (Juliane Banse, Olaf Bär, Bochumer SO, c. Steven Sloane). On 2 April, the Aalto Ballett Theater will première a ballet programme of Schönberg’s music (choreography by Ralf Dörnen, Robert North: 10 further performances until 7 July). These performances will be accompanied by a weekend of lectures and readings on Schönberg’s art and music at the Museum Folkwang (8-10 April).

Alban Berg and Arnold Schönberg

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Kurt Weill, Happy End, Vienna Volkstheater

WEILL

Three cheers for Happy End

Hauptmann play, has met with audiences’ unanimous approval. A rediscovery that was long overdue. (Jan/Feb 2005)

BRAND The Mahagonny boom continues unabated: the last issue of the UE Newsletter reported on Mahagonny performances in Nuremberg, Darmstadt, Pforzheim, Zurich, Rome, Reggio Emilia and Bari. Now, 75 years after the work’s Leipzig première, Dresden’s Semperoper has added Aufstieg und Fall der Stadt Mahagonny to its programme. The première of this new production by Harry Kupfer is scheduled for 6 May (8, 15, 20 and 22 May and 2 July). A new production (by Erhard Pauer) of the unjustly neglected Happy End at Vienna’s Volkstheater has been making waves over the past few weeks. The ‘half-Brecht’, as the press called this Brecht /

Maschinist Hopkins in Augsburg Following its 1929 première in Duisburg, despite being the hit of the Great Depression, Max Brand’s opera Maschinist Hopkins suffered the usual fate of so-called ‘degenerate music’: initial success followed by obscurity. The post-war period thankfully saw several revivals, and another new production begins at Theater Augsburg on 5 March 2005. Stage direction: Ulrich Peters, conductor: Thomas Kalb.

weill / brand

BRAUNFELS

Die Vögel in the US

SZYMANOWSKI

A Dutch One of the most successful rediscoveries of the past few years, Walter Braunfels’s lyrical, fantastic drama Die Vögel (1912/1919), loosely based on Aristophanes’ The Birds, will have its US première on 27 May at the Spoleto Festival in Charleston, SC (c. Julius Rudel, dir Jonathan Eaton). At the work’s première in 1920, Braunfels said: whoever searches for something like ‘drama’ in Die Vögel is looking in the wrong place. Three worlds stand side by side: the human, the fantastic and the divine. The work’s plot results from the friction between these three worlds. ... I demand only one thing of my listeners: to give themselves over completely to this breezy fantasy.

première Demeter for alto soloist, women’s choir and orchestra, setting words by the composer’s sister Zofia, was sketched by Karol Szymanowski in 1917 and then orchestrated in 1924. The ca. 7-minute cantata is one of Szymanowski’s most striking works: the lyrical lament of a mother in search of her daughter. For whatever reason, Demeter has never attracted much attention. On 26 March 2005 however, the work’s Dutch première takes place in Utrecht with Aurélia Legay, the Groot Omroepkoor and the Netherlands RSO under Kees Bakels.

Walter Braunfels, Die Vögel, Volksoper Vienna 1999

braunfels / szymanowski

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MARTIN

‘Cornet’ on stage in Geneva Rainer Maria Rilke’s cycle of poems Die Weise von Liebe und Tod des Cornets Christoph Rilke has been set to music by several composers: Viktor Ullmann, Paul von Klenau, Siegfried Matthus and Frank Martin, each of whom treated these 23 ballad-like poems in their own unique fashion. Martin’s contribution is a piece for alto soloist and small orchestra, and is one of his most poetic, gripping creations, in which the 52 year-old composer brought all his mastery to bear. Each of the poems describes a scene of soldiers riding to war, and the recorded dialogues are all sung by the alto. Some of the poems are lyrical, while others are marked by great dramatic tension. Now, the Grand Théâtre de Genève is mounting an exciting stage production of this 55-minute work. Soloist: Monica Groop; conductor: Patrick Davin; stage direction: Nicolas Brieger. Première: 6 May 2005.

Franz Schmidt

SCHMIDT

The Book of Seven Seals Franz Schmidt (1874-1939) composed his opus summum, The Book of Seven Seals, an oratorio from the Revelation of St. John for soloists, choir, organ and orchestra (duration: ca. 110’), between 1935 and 1937. He only ever commented on this work from the standpoint of a deeply religious person and as an artist. Despite its monumental proportions, the work is quite frequently performed at home and abroad – three times in fact during the coming months: on 22 March in Hildesheim, as well as on 15 and 16 April in Stockholm.

martin / schmidt

MILHAUD

Minute Operas

SCHREKER

Unpublished In 1927, Darius Milhaud composed three 10-minute operas: The Abduction of Europe, The Abandonment of Ariadne and The Deliverance of Theseus (libretti by Henri Hoppenot). The first was inspired by Hindemith, whose 1927 BadenBaden Festival bore the motto ‘operas – as short as possible’. The Abduction’s success moved Emil Hertzka to suggest that Milhaud expand it into a trilogy. The current production opens on 17 March 2005 at the Teatro de la Maestranza in Seville.

no more! The 70th anniversary of the death of Franz Schreker brings with it a new volume of the composer’s complete Lieder (UE 32955). Included are a number of hitherto unpublished compositions, as well as others that were published during Schreker’s lifetime but never widely distributed. The collection provides a thorough overview of Schreker’s stylistic development. The ongoing Schreker revival has revealed some of the lesser-known facets of Viennese Modernism: Schreker did not follow his good friend Arnold Schönberg into atonality or dodecaphony, choosing rather to forge a stylistically broad, supple and expressive musical language that probed the complex inner workings of the human soul. The Lieder in this new edition, spanning some 25 years of Schreker’s career as a composer, are the result of this very individual musical journey.

Darius Milhaud

milhaud / schreker

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RATHAUS

Der letzte Pierrot

Wilhelm Grosz

WILHELM GROSZ

Achtung, Aufnahme! This is music from the 1920s by a ‘degenerate’ composer who died suddenly in 1939, on the threshold of a promising career in the US. Wilhelm Grosz engaged in two collaborations with the Bartók librettist Béla Balasz, one of which resulted in the tragic-comic burlesque Achtung, Aufnahme!, which will be performed on 26 March by Werner Hubers and his Ebony Band as part of Jan Zekveld’s concert series in Amsterdam, in a semi-staged production with Capella Amsterdam.

Polish composer Karol Rathaus (1895–1954) wrote the ca. 40-minute ballet Der letzte Pierrot in 1925/26 for Max Terpis, who was himself co-author of the libretto. Following the virulent rejection of his two symphonies (the first of which was published by UE), the Schreker student had withdrawn from musical life. This ballet was an attempt to change his means of expression, and indeed Rathaus went through a considerable stylistic transformation. In an essay on the piece, Martin Schüssler writes: Rathaus’s music is of such illustrative power that it is easy to follow the plot without seeing the scenery on the stage – the characters can be recognised by musical motifs. Der letzte Pierrot will receive its Dutch première in a concert performance on 28 May in Amsterdam (RSO / Israel Yinon) as part of Jan Zekveld’s Zaterdagmatinee concerts.

grosz / rathaus

Rudolf Barshai

MAHLER / BARSHAI

Visions transcribed In a letter dating from August 1910, Gustav Mahler wrote of his work on the Symphony No. 10: The visions are so strong that I become afraid of myself. Since the release of the CD of the version by Rudolf Barshai (Brilliant Classics 92205), discussions about the forward-looking musical dimensions of the Symphony No. 10 have been ‘audibly’ expanded. One also senses the immensity of the work undertaken by Barshai in preparation for his reconstruction and orchestration. The first four movements of this version were first heard in autumn 2000 in Ljubljana. Since then, there have already been 21 performances of all five

movements (75’) worldwide, from Japan to Europe to the US. Thanks to continuing high interest, the score will now be made available as a study score (UE31504), and will be presented to the public at the Frankfurt International Music Fair.

mahler / barshai

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KRENEK

Violin Concerto No. 1 5 March 2005 sees Ernst Kovacic as soloist in the second ever UK performance (the first took place in 1962 in Epsom) of Ernst Krenek’s Violin Concerto No. 1, op. 29. Peter Tregear will conduct the Cambridge University Chamber Orchestra at West Road, Cambridge. A typically adept combination of neo-classical rhythmic drive, sweeping lyricism and virtuosity, the work is one of the great violin concertos of the early 20th century. Meanwhile, the evergreen Jonny spielt auf will run for 8 nights in Cologne, beginning on 4th March.

BARTÓK

in the Forbidden City An evening of Béla Bartók’s concert version of the Miraculous Mandarin, op. 19 in Beijing’s Forbidden City on 28 January 2005 (China Philharmonic Orchestra, c. Long Yu) kicked off a tour that will continue on to the US (Irvine on 28 February, Los Angeles on 3 March, San Francisco on 6 March,

Béla Bartók Der Wunderbare Mandarin Budapest 1958

etc.), Canada and Europe (Italy, Great Britain, Germany, Belgium, Netherlands). Bartók created his concert version in 1927, after the original Mandarin’s scandalous 1926 world première in Cologne (the piece was to remain absent from the stage until 1945). Since then, both versions have been played countless times all over the world, and have become indispensable parts of the repertoire.

krenek / bartók

ALFREDO CASELLA

Serenata op. 46 In the difficult competition for a secure place in the concert repertoire, the late Alfredo Casella has been amongst the winners. A significant number of his works continues to appear on concert programmes, including the Serenata for small orchestra, which was composed in 1930. It is an arrangement of the synonymous chamber piece for clarinet, bassoon, trumpet, violin and cello. On 21 May, the Serenata will be performed by the Havant Chamber Orchestra and Peter Craddock in Fareham, UK.

spirit needed to make pleasant sounds out of exciting ideas … abundant musicality, writes Diether Steppuhn, who calls the piece original, interesting, strong-minded, and entertaining in the best sense of the word…

EMIL NIKOLAUS VON REZNICEK

Symphony in D-Major, in the old style Conductor Asher Raboy will perform this small-scale Symphony in D-Major, composed in 1918 by the Austrian composer Emil Nikolaus von Reznicek (1860–1945), with his Napa Valley Symphony in Napa, US. The composer had the humour and

Alfredo Casella

rediscoveries

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PAUL VON KLENAU

Little Ida’s Flowers, Paolo and Francesca

Paul von Klenau

Danish composer and conductor Paul von Klenau (1883–1946), a friend of Berg and admirer of Schönberg, spent his career in Germany and Austria. His homeland however has now also begun to rediscover him: two recent CDs of orchestral works provide an initial impression of his music, and his works are being re-introduced to current audiences. The American SO under Leon Botstein will perform the overture to the fairy-tale ballet Little Ida’s Flowers (written in 1916) on 11 March at New York’s Avery Fisher Hall. (The complete ballet, after Hans Christian Andersen, was premièred in Copenhagen that year.) Meanwhile Paolo and Francesca (1913, for orchestra) treats Dante’s descent into hell alongside the tragic love that also inspired Tchaikovsky in his work Francesca da Rimini. (1 March 2005, Birmingham University Philharmonic Orchestra / Martin Leigh).

rediscoveries

Orchestre Philharmonique de Radio France / Alain Altinoglu). The plot bears a certain resemblance to Zemlinsky’s Florentine Tragedy: it is about an extra-marital affair and the deadly revenge of a jealous husband. Tansman’s post-impressionist music seems like a romantic echo of bygone times. (Wolfgang Ringelband) Bohuslav Martinu MARTINU TANSMAN

The Epic of

Le Serment

Gilgamesch

The lyrical episode Le Serment by Alexandre Tansman based on Balzac’s story La Grande Bretêche (libretto: Dominique Vincent) was premièred in Brussels in 1955, after which it gradually drifted into obscurity. On 13 November, this onehour opera was given a concert performance in Paris that was broadcast live on radio – the broadcast resulted in a very satisfying recording which gives rise to the hope that Le Serment might soon be seen and heard on stage once again. (Marie Devellereau, Countess; Jean-Sébastien Bou, Count;

Czech composer Bohuslav Martinu (1890–1959) studied the Babylonian Epic of Gilgamesh (the oldest written monument to world culture, dating from 9th century BC) for years before he dared to begin his work in 1954. The result was a 55minute oratorio in three parts, written for soprano, tenor, baritone and bass soloists, mixed choir and small orchestra. Sylvain Cambreling will conduct the SWR Sinfonieorchester Baden-Baden and the SWR Vocalensemble Stuttgart in Koblenz on 18 June 2005.

rediscoveries

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2005 100th 80th 80th 75th 60th 70th 80th 100th

Anniversary Anniversary Birthday Birthday Birthday Birthday Birthday Anniversary

Theodor Berger * 18 May 1905 Luciano Berio * 24 October 1925 Pierre Boulez * 26 March 1925 Cristóbal Halffter * 24 March 1930 Vic Hoyland * 11 December 1945 Arvo Pärt * 11 September 1935 Gunther Schuller * 22 November 1925 Eric Zeisl * 18 May 1905

Birthday Anniversary Birthday Anniv. of Death Anniversary Birthday Birthday Anniv. of Death Birthday Birthday Birthday Birthday Birthday Anniversary Birthday Anniversary Anniversary Birthday

Gilbert Amy * 29 August 1936 Béla Bartók * 25 March 1881 Richard Rodney Bennett * 29 March 1936 Bertolt Brecht † 14 August 1956 Earle Brown * 26 December 1926 Francis Burt * 28 April 1926 Friedrich Cerha * 17 February 1926 Gottfried von Einem † 12 July 1996 Michael Finnissy * 17 March 1946 Morton Feldman * 11 January 1926 Mauricio Kagel * 24 December 1931 Ladislav Kupkovic * 17 March 1936 György Kurtág * 19 February 1926 Wolfgang Amadeus Mozart * 27 Jan 1756 Steve Reich * 03 October 1936 Dmitri Schostakowitsch * 25 Sep 1906 Karl Weigl * 06 February 1881 Hans Zender * 22 November 1936

2006 70th 125th 70th 50th 80th 80th 80th 10th 60th 80th 75th 70th 80th 250th 70th 100th 125th 70th

anniversaries

2007 75th 70th 20th 80th 125th 125th 125th 70th 60th 50th 50th 125th 70th 50th

Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniversary Anniversary Birthday Birthday Birthday Anniv. of Death Anniversary Anniv. of Death Birthday

Eugen d'Albert † 03 March 1932 David Bedford * 04 August 1937 Morton Feldman † 03 September 1987 Michael Gielen * 20 July 1927 Zoltán Kodály * 16 December 1882 Gian Francesco Malipiero * 18 March 1882 Joseph Marx * 11 May 1882 Gösta Neuwirth * 06 January 1937 Paul Patterson * 15 June 1947 Thomas Daniel Schlee * 26 October 1957 Othmar Schoeck † 08 March 1957 Karol Szymanowski * 06 October 1882 Karol Szymanowski † 29 March 1937 Julian Yu * 02 September 1957

Anniversary Anniv. of Death Anniversary Birthday Anniversary Anniversary Birthday Birthday Birthday Anniv. of Death Birthday Birthday

Cathy Berberian * 04 July 1928 Cathy Berberian † 06 March 1983 Gottfried von Einem * 24 January 1918 Zygmunt Krauze * 19 September 1938 Gerhard Lampersberg * 05 July 1928 Olivier Messiaen * 10 December 1908 Nigel Osborne * 23 June 1948 Peter Ruzicka * 03 July 1948 Tona Scherchen * 12 March 1938 Max von Schillings † 24 July 1933 Karlheinz Stockhausen * 22 August 1928 Eugen Suchon * 25 September 1908

2008 80th 25th 90th 70th 80th 100th 60th 60th 70th 75th 80th 100th

anniversaries

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VYKINTAS BALTAKAS New Song (AT) for ensemble and voice Klangforum Wien, c. Johannes Kalitzke, Rita Balta, S 24 April 2005 · Witten Festival of New Chamber Music/D GEORG FRIEDRICH HAAS "... aus freier Lust ... verbunden ..." for 2 percussionists soloists of Ensemble Modern 03 May 2005 · Happy New Ears, Opera Frankfurt/D Haiku for baritone and 10 instruments Klangforum Wien, c. Johannes Kalitzke, Georg Nigl, voice 24 April 2005 · Witten Festival of New Chamber Music/D CRISTÓBAL HALFFTER Cuatro piezas para orquesta for orchestra Orquesta Municipal de Valencia, c. Pedro Halffter 18 May 2005 · Auditorio Municipal de Valencia/E ROXANNA PANUFNIK Abraham. A Concerto for Hope for violin and orchestra c. John Axelrod, Daniel Hope, vln 25 March 2005 · Lucas Theatre, Savannah Music Festival/USA WOLFGANG RIHM Two Other Movements for orchestra New York Philharmonic, c. Lorin Maazel 10 March 2005 · Avery Fisher Hall, New York/USA En plein air for harp, flute, clarinet and string quartet Minguet Quartett, Lucas Fels, vlc, Barbara Maurer, vla 13 March 2005 · Hotel Römerbad, Badenweiler/D 3. Doppelgesang for clarinet, viola and orchestra Minnesota Orchestra, c. Osmo Vänskä, Burt Hara, clar, Tom Turner, vla 14 April 2005 · Orchestra Hall, Minnesota/USA Memoria. Drei Requiem-Bruchstücke for treble, alto, choir and orchestra, Junge Deutsche Philharmonie, c. Lothar Zagrosek, Rundfunkchor Berlin, Cornelia Kallisch, treble from the Berlin Cathedral Choir (Inauguration of the Holocaust Monument in Berlin) 09 May 2005 · Philharmonie Berlin/D

world premières

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MARY KAREN CLARDY (HG.) Classic Duets for Flute Vol.2 for two flutes UE 70078 MIKE CORNICK Easy Blue Piano. Selected titles in popular styles for piano UE 21260 GEORG FRIEDRICH HAAS Finale for flute UE 32748 ARVO PÄRT Spiegel im Spiegel for clarinet and piano UE 32764 JAMES RAE Play it cool - Trumpet with CD 10 easy pieces for trumpet and piano UE 21265 WOLFGANG RIHM Quartettstudie for string quartet Score UE 32932, Parts UE32933 ERIK SATIE Trois Gymnopédies arranged by Sylvia C. Rosin for recorder (T/S/A) and piano UE 32922 DAVID SAWER Parthenope for viola UE 21247 THOMAS DANIEL SCHLEE String Quartet No. 3, op. 56 – Tempus floridum for string quartet Score UE 32611 CENTRE STAGE 2 Weill, Mack the Knife - Bizet, Habanera arranged by James Rae for ensemble in variable orchestration UE 21266

new releases

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MAGIC FLUTE ON STAGE

Anna Magdalena Bach’s Notebook arranged by Ulrich Müller-Doppler and Peter Ludwig for flute and piano UE 32921

An introduction to Baroque styles for flautists The famous collection of little keyboard pieces also known as ‘Anna Magdalena Bach’s Notebook’ provided Johann Sebastian Bach with valuable material for teaching the interpretation of the music of his time. Generations of piano teachers after him have also used his collection of pieces to teach Baroque style. Now flautists, with these new arrangements for flute and piano, can be introduced to the rules of Baroque articulation, ornamentation and dynamics, which perhaps will stimulate an ongoing interest in the vast repertoire of Baroque flute music.

new releases

HUGO ALFVÉN Five Symphonies Stockholm Royal Philharmonic Orchestra, c. Neeme Järvi BIS 501478 / Klassik Center BÉLA BARTÓK Musik für Saiteninstrumente, Schlagzeug und Celesta Chamber Orchestra of Europe, c. Nikolaus Harnoncourt BMG Ariola Classics D 82876 59326 2 (Deutsche Schallplattenkritik Award) ALBAN BERG Lyric Suite Kronos Quartet, Dawn Upshaw Nonesuch 7559-79696 2 ALBAN BERG Lulu Choir and Orchestra of the Vienna State Opera, c. Karl Böhm, Anja Silja, Martha Mödl, Waldemar Kmentt, Ernst Gutstein Andante CD AN 3050 (UO2) ALBAN BERG Wozzeck Choir and Orchestra of the Vienna State Opera, c. Karl Böhm, Walter Berry, Christel Goltz, 1955 Andante CD AN 3060 (UO2) (Midem Classical Award 2005) MORTON FELDMAN The Turfan Fragments, For Samuel Beckett The Orchestra of the S.E.M. Ensemble, c. Petr Kotik DOG W / A BONE DWAB04 CRISTÓBAL HALFFTER Attendite Cello Octet Conjunto Ibérico, c. Elias Arizcuren ET'CETERA KTC 1268 GUSTAV MAHLER Lieder eines fahrenden Gesellen, Fünf Rückert-Lieder, Kindertotenlieder Wiener Philharmoniker, c. Pierre Boulez, Thomas Quasthoff, Violeta Urmana, Anne Sofie von Otter Deutsche Grammophon DGG 00289 477 5329 FRANK MARTIN Concertos Orchester Musikkollegium Wintherthur, c. Jac van Steen, Michael Erxleben, vln, Adrienne Soós, Iva Haag, pn Musikproduktion Dabringhaus und Grimm MDG 901 1280-6 FRANK MARTIN Golgotha Berliner Symphoniker, Luzerner Knabenkantorei, Akademiechor Luzern, Kantorei der Stiftskirche Stuttgart, c. Alois Koch MIGROS Musiques Suisses MGB CD 6221 EMIL NIKOLAUS VON REZNICEK Donna Diana Orchestra and choir of the Kiel Opera, c. Ulrich Windfuhr, Manuela Uhl, Roman Sadnik, Simon Pauly, Anne-Carolyn Schlüter cpo 999 991 - 2

new on cd

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G. F. HAAS String Quartet No. 1 and 2 Kronos Quartet edition zeit klang ez-19017 (Deutsche Schallplattenkritik Award)

CRISTÓBAL HALFFTER Don Quijote OS de Madrid, c. Pedro Halffter, Baquerizo, Santamaria, Tiegs, Ramón Glossa Music GSP 98004 D.

A. ZEMLINSKY The Florentine Tragedy Orchestre Philh. de France, c. Armin Jordan, Iris Vermillion, Viktor Lutsiuk, Albert Dohmen naive V 4987

LIVE - THE RADIO RECORDING Compositions by ALBAN BERG Violinkonzert, Sieben Frühe Lieder LUCIANO BERIO Concerto for two pianos and orchestra, Concerto II, Folk Songs, Formazioni, Requies GUSTAV MAHLER Kindertotenlieder, 8. Symphonie WOLFGANG RIHM Schwarzer und roter Tanz ARNOLD SCHÖNBERG Kammersymphonie Nr. 1 ANTON WEBERN Passacaglia ALEXANDER ZEMLINSKY Die Seejungfrau Royal Concertgebouw Orchestra, c. Riccardo Chailly Radio Netherlands Music 13 CD Box MCCM 97033

new on cd

D. SCHOSTAKOWITSCH The Nose Orchestre de Chambre de Lausanne, c. Armin Jordan Radio Suisse Romande RSR 6183 CD

Anthèmes 1 for violin (10') . 1991-1992 Anthèmes 2 for violin and live electronics (24') 1997 cummings ist der dichter for 16 solo voices or 1970/1986 mixed choir and instruments (13 - 14') source text: Poems 1923-1954 by e. e. cummings Dérive 1 for 6 instruments (7-8') 1984 Dérive 2 for 11 instruments (26 - 28') 1988/2005 Dialogue de l'ombre double for clarinet and tape (20') 1984 Domaines for clarinet (variable duration) 1968/1969 Domaines for clarinet and orchestra (29') 1968/1969 Éclat for 15 instruments (8') 1965 Éclat/Multiples for orchestra (25') Multiples may not be performed separately.. 1965 ... explosante-fixe ... for (midi-) flute with live electronics, 1991/1993 2 flutes and ensemble (36') consists of: Transitoire V (15'30'') 1993 Transitoire VII (13'30'') 1991 Originel Orchestra version of Mémoriale (7') 1993 All parts from ... explosante-fixe ... may be performed separately. Figures – Doubles – Prismes for orchestra (20') 1963/1968 Improvisation I sur Mallarmé: 1957 "Le vierge, le vivace et le bel aujourd'hui" for soprano and 7 instrumentalists (original version) (6') text by: Stéphane Mallarmé This version is not valid for the performance of the cycle Pli selon pli. Incises for piano (3'30'') 1994/2001 Le Marteau sans Maître for alto and 6 instruments (35') 1953/1955 text by: René Char Mémoriale for flute and 8 instruments (7') 1985 (... explosante-fixe ... Originel) Messagesquisse for cello solo and 6 cellos (7') 1976/1977 Messagesquisse for viola solo and 6 violas (7') 1976/2000 12 Notations for piano (10') 1945 Notations I-IV for orchestra (8') 1945/1978/1984 (Notations I (2'20''), II (1'), III (3'10''), IV (1’25”)) Notations VII for orchestra (9') 1945/1997 can be performed along with Notations I-IV, composer’s recommended order: I, VII, IV, III, II or I, III, IV, VII, II.

worklist boulez

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Pierre Boulez 1959

Pli selon pli (Portrait de Mallarmé) 1957-1962 for soprano and orchestra (67'), text by: Stéphane Mallarmé consists of: Don (15') 1960-1962/1989 Improvisation I "Le vierge, le vivace et le bel aujourd'hui" (6')1957/1962 Improvisation II "Une dentelle s'abolit" (12') 1957 Improvisation III "À la nue accablante tu" (19') 1959/1983 Tombeau (15') 1959-1962 All parts from Pli selon pli can be performed and acquired separately. Pour le Dr. Kalmus for 5 players (4') 1969 Répons for 6 soloists, ensemble, computer sounds and live electronics, 1981 solo: 2 pianos, harp, vibraphone, glockenspiel, cimbalom (45') work in progress. Rituel (in memoriam Bruno Maderna) 1974-1975 for orchestra in 8 groups (27') Première Sonate for piano (10') (Editions Amphion) 1946 Troisième Sonate: Sigle for piano 1955-1957 Troisième Sonate: Formant 2 - Trope for piano 1955-1957 Troisième Sonate: Formant 3 - Constellation-Miroir for piano 1955-1957 ed. by Robert Piencikowski. Sonatine for flute and piano (12') (Editions Amphion) 1946 Structures, Premier Livre for 2 pianos (12') 1952 Structures, Deuxième Livre for 2 pianos (23') 1961 sur Incises for 3 pianos, 3 harps and 3 percussionists (40') 1996/1998 Ravel Maurice (1875-1937) Frontispice 1918 for orchestra arranged by Pierre Boulez (2') 1987

boulez

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UNIVERSAL EDITION Austria: A-1015 Vienna, P.O. Box 3, Austria tel +43-1-337 23 - 0, fax +43-1-337 23 400 Great Britain: 48 Great Marlborough Street, London W1F 7BB, UK tel + 44-20 7437 6880 fax +44-20 7437 61154 w w w.universaledition.com Editors:Angelika Dworak and Eric Marinitsch Contributors: Clytus Gottwald, Bรกlint Andrรกs Varga, Eric Marinitsch, Angelika Dworak, Rebecca Dawson, Marion Hermann, Norman Ryan and Christopher Hailey Design: Egger & Lerch, W ien Photo Credits: Eric Marinitsch (9), Frank Helmrich (2), Yasuko Ueda, UE Archiv, Kathinka Pasveer, Ursula Burghardt, Clarion / Seven Muses, Pavel Antonov, Christian Jungwirth, Nurith Wagner-